Qing Bai: Innocence
In a season marked by a surge of Asian-led theater in New York, director and playwright Tara Nyingyè is carving out her own luminous path. From her Mandarin-language reimagining of The Legend of the White Snake at HERE Arts Center to her newest English-language work, angels, Tara blends physical theater, psychological inquiry, and bold structural experimentation to ask timeless questions about love, choice, and repetition. As part of a new generation building not only productions but institutions, she and her collaborators are reshaping what contemporary theater can look and feel like — urgent, embodied, and unmistakably alive.
Love Sculpture by Mariko Mori, at SKNY, photo by Christopher PelhamPhoto © by Radiance exhibition by Mariko Mori installation view, photo by Christopher Pelham
The creations of Japanese artist Mariko Mori, a respected and well-known figure in the international art world since the 1990s, have never seemed more present, needed, and timely than now. Why? In an era saturated with stimuli, her work invites us to slow down, suspend our assumptions, and enter a quieter relationship with ourselves, one another, and the world. Her art calls us back to what she simply names Radiance, the light and interconnectedness that underlie everything.
Album cover of Fresh
Sylvester "Sly Stone" Stewart died on June 9th, 2025. There have been a lot of narratives about his life and death, but less about his music, particularly his under-appreciated 1973 album, Fresh. True to its title, Fresh is lighter, more relaxed, and much more personal than any music Sly had written to date. It's also much funkier, as Sly had in turn embraced the deep grooves of the Bootsy Collins-era JBs of James Brown.
The first time I encountered one of Nguyễn Tuấn Cường's works, I found myself stunned before a canvas not characterized by richness, but by solidity. It was a painting of a bowl — an ordinary, creased enamel bowl — so realistically rendered it seemed to be living. Not polished, not idealized. It just was. Its rim chipped, its pale blue faded to something almost ghostly, the bowl rested ever so slightly askew on a darkened ground, emanating not surface light but a glow from deep within the layers of lacquer.
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Yoko Tawada, Professor Rivka Galchen, Susan BernofskyPhoto © by Christopher Pelham

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